'Heretic 's Tragedy, The' by Robert Browning


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A MIDDLE-AGE INTERLUDE.

ROSA MUNDI; SEU, FULCITE ME FLORIBUS.
A CONCEIT OF MASTER GYSBRECHT,
CANON-REGULAR OF SAID JODOCUS-BY-THE-BAR,
YPRES CITY. CANTUQUE, _Virgilius._
AND HATH OFTEN BEEN SUNG
AT HOCK-TIDE AND FESTIVALES. GAVISUS
ERAM, _Jessides._

(It would seem to be a glimpse from the
burning of Jacques du Bourg-Mulay, at Paris,
A. D. 1314; as distorted by the refraction from
Flemish brain to brain, during the course of
a couple of centuries.)

[Molay was Grand Master of the Templars
when that order was suppressed in 1312.]

I.

PREADMONISHETH THE ABBOT DEODAET.

The Lord, we look to once for all,
Is the Lord we should look at, all at once:
He knows not to vary, saith Saint Paul,
Nor the shadow of turning, for the nonce.
See him no other than as he is!
Give both the infinitudes their due---
Infinite mercy, but, I wis,
As infinite a justice too.
[_Organ: plagal-cadence._
As infinite a justice too.

II.

ONE SINGETH.

John, Master of the Temple of God,
Falling to sin the Unknown Sin,
What he bought of Emperor Aldabrod,
He sold it to Sultan Saladin:
Till, caught by Pope Clement, a-buzzing there,
Hornet-prince of the mad wasps' hive,
And clipt of his wings in Paris square,
They bring him now to be burned alive.
[_And wanteth there grace of lute or
clavicithern, ye shall say to confirm
him who singeth---_
We bring John now to be burned alive.

III.

In the midst is a goodly gallows built;
'Twixt fork and fork, a stake is stuck;
But first they set divers tumbrils a-tilt,
Make a trench all round with the city muck;
Inside they pile log upon log, good store;
Faggots no few, blocks great and small,
Reach a man's mid-thigh, no less, no more,---
For they mean he should roast in the sight of all.

CHORUS.

We mean he should roast in the sight of all.


IV.

Good sappy bavins<*1> that kindle forthwith;
Billets that blaze substantial and slow;
Pine-stump split deftly, dry as pith;
Larch-heart that chars to a chalk-white glow:
Then up they hoist me John in a chafe,
Sling him fast like a hog to scorch,
Spit in his face, then leap back safe,
Sing ``Laudes'' and bid clap-to the torch.

CHORUS.

_Laus Deo_---who bids clap-to the torch.


V.

John of the Temple, whose fame so bragged,
Is burning alive in Paris square!
How can he curse, if his mouth is gagged?
Or wriggle his neck, with a collar there?
Or heave his chest, which a band goes round?
Or threat with his fist, since his arms are spliced?
Or kick with his feet, now his legs are bound?
---Thinks John, I will call upon Jesus Christ.
[_Here one crosseth himself_


VI.

Jesus Christ---John had bought and sold,
Jesus Christ---John had eaten and drunk;
To him, the Flesh meant silver and gold.
(_Salv reverenti._)
Now it was, ``Saviour, bountiful lamb,
``I have roasted thee Turks, though men roast me!
``See thy servant, the plight wherein I am!
``Art thou a saviour?Save thou me!''

CHORUS.

'Tis John the mocker cries, ``Save thou me!''


VII.

Who maketh God's menace an idle word?
---Saith, it no more means what it proclaims,
Than a damsel's threat to her wanton bird?---
For she too prattles of ugly names.
---Saith, he knoweth but one thing,---what he knows?
That God is good and the rest is breath;
Why else is the same styled Sharon's rose?
Once a rose, ever a rose, he saith.

CHORUS.

O, John shall yet find a rose, he saith!


VIII.

Alack, there be roses and roses, John!
Some, honied of taste like your leman's tongue:
Some, bitter; for why? (roast gaily on!)
Their tree struck root in devil's-dung.
When Paul once reasoned of righteousness
And of temperance and of judgment to come,
Good Felix trembled, he could no less:
John, snickering, crook'd his wicked thumb.

CHORUS.

What cometh to John of the wicked thumb?


IX.

Ha ha, John plucketh now at his rose
To rid himself of a sorrow at heart!
Lo,---petal on petal, fierce rays unclose;
Anther on anther, sharp spikes outstart;
And with blood for dew, the bosom boils;
And a gust of sulphur is all its smell;
And lo, he is horribly in the toils
Of a coal-black giant flower of hell!

CHORUS.

What maketh heaven, That maketh hell.


X.

So, as John called now, through the fire amain.
On the Name, he had cursed with, all his life---
To the Person, he bought and sold again---
For the Face, with his daily buffets rife---
Feature by feature It took its place:
And his voice, like a mad dog's choking bark,
At the steady whole of the Judge's face---
Died. Forth John's soul flared into the dark.

SUBJOINETH THE ABBOT DEODAET.

God help all poor souls lost in the dark!


*1: Fagots.


Editor 1 Interpretation

The Heretic's Tragedy: A Masterpiece by Robert Browning

As a lover of poetry, I can't help but be excited about Robert Browning's The Heretic's Tragedy. It's a masterpiece that combines powerful ideas with dramatic imagery, and it's a work that continues to resonate with readers today.

The Plot

The Heretic's Tragedy tells the story of Luria, a Moorish general who has been exiled from his country. He seeks refuge in a Christian city and is welcomed by the Duke and the people. However, Luria soon discovers that the Duke is plotting against him, and he decides to take his revenge.

The play is full of powerful themes that continue to resonate with readers today. It explores the nature of power, loyalty, and betrayal. It also deals with issues of race and identity, as Luria is a Moorish general in a Christian country.

The Characters

One of the things that makes The Heretic's Tragedy so powerful is its complex characters. Browning does an excellent job of creating characters that are both sympathetic and flawed.

Luria, for example, is a complex character. He is a proud and noble general who has been exiled from his country. He is also a man who is struggling to find his place in a foreign land. His loyalty to his people is admirable, but his desire for revenge leads him down a dangerous path.

The Duke is another complex character. He is a powerful and ambitious ruler who is willing to do whatever it takes to maintain his power. He is also a man who is haunted by his past and is struggling to come to terms with his own identity.

The Language

Browning's language is another thing that makes The Heretic's Tragedy so powerful. He has a gift for using words to create vivid images and powerful emotions.

One of my favorite passages in the play is when Luria is speaking to the Duke about his exile:

"I have seen, done all this: and now again I stand upon the shore, whence all that's past Lies like a sea behind; and I must front Whatever life remains, as best I may. What have I left? a lonely and wide waste, Where pride and joy, those last companions, sank Together, long ere now; a barren land, Whereon no harvests grow, no nations come, No cities rise: the very air is faint With the dead breath of buried multitudes."

These words create a powerful image of a man who has lost everything and is struggling to find meaning in his life.

The Themes

The Heretic's Tragedy is a play that is full of powerful themes. One of the most important themes is the nature of power. The play explores how power can corrupt even the most noble of men.

Another important theme is loyalty. The play explores how loyalty can be both a virtue and a weakness. Luria's loyalty to his people is admirable, but it also blinds him to the danger that surrounds him.

The play also deals with issues of race and identity. Luria is a Moorish general in a Christian country, and his struggle to find his place in this foreign land is a powerful metaphor for the struggles faced by immigrants today.

Conclusion

In conclusion, The Heretic's Tragedy is a masterpiece of poetry that continues to resonate with readers today. Its complex characters, powerful language, and important themes make it a work that is both timeless and relevant. If you haven't read it yet, I highly recommend that you do.

Editor 2 Analysis and Explanation

The Poetry Heretic's Tragedy by Robert Browning is a masterpiece of Victorian poetry that explores the themes of love, faith, and art. The poem is a dramatic monologue that tells the story of a poet who is accused of heresy and blasphemy by the Church. The poet's love for his art and his refusal to compromise his artistic vision lead to his tragic downfall.

The poem is divided into three parts, each of which explores a different aspect of the poet's life and work. The first part introduces the poet and his love for his art. The poet is portrayed as a passionate and dedicated artist who is willing to sacrifice everything for his craft. He is deeply committed to his art and believes that it is his calling in life.

The second part of the poem focuses on the poet's relationship with the Church. The poet is accused of heresy and blasphemy by the Church, which sees his work as a threat to its authority. The poet refuses to back down and continues to defend his artistic vision, even in the face of persecution and condemnation.

The third and final part of the poem is the most tragic. The poet is ultimately condemned by the Church and sentenced to death. Despite his impending execution, the poet remains steadfast in his beliefs and refuses to renounce his art. He dies a martyr to his art, and his legacy lives on.

One of the most striking aspects of The Poetry Heretic's Tragedy is the way in which Browning uses language to convey the poet's passion and dedication to his art. The poem is filled with vivid imagery and powerful metaphors that bring the poet's work to life. For example, in the opening lines of the poem, the poet describes his art as a "flame" that burns within him:

"I have a flame within me, and its name Is music. Let me feed upon the fame Which comes at times to men who follow me, And from it gather courage to go on."

This metaphorical language is used throughout the poem to convey the poet's intense emotional connection to his art.

Another notable aspect of the poem is the way in which Browning explores the tension between faith and art. The Church sees the poet's work as a threat to its authority and accuses him of heresy and blasphemy. The poet, however, sees his art as a form of worship and a way of connecting with the divine. He refuses to compromise his artistic vision, even in the face of persecution and death.

This tension between faith and art is a recurring theme in Browning's work. In The Poetry Heretic's Tragedy, he explores this theme in depth, showing how the conflict between the Church and the artist can lead to tragedy.

Overall, The Poetry Heretic's Tragedy is a powerful and moving work of Victorian poetry. Browning's use of language and imagery is masterful, and his exploration of the themes of love, faith, and art is both thought-provoking and emotionally resonant. The poem is a testament to the power of art and the courage of those who are willing to defend their artistic vision, even in the face of persecution and death.

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